Art Deco furniture in France, 1910-1940

wp:paragraph For lovers of precious wood furniture and other lovers of marquetry, Art Deco furniture, produced mainly from the 1910s, shortly before the First World War, until the 1940s, when it began to decline, is a must. For lovers of precious wood and marquetry, Art Deco furniture, produced mainly from 1910, shortly before the First World War, until the 1940s, when it began to decline, is a must. /wp:paragraph wp:paragraph This period marks the predominance of Art Déco in France, born as a reaction to the aesthetics advocated by Art Nouveau, which was very much in vogue at the end of the 21st century and the beginning of the 20th. The promoters of Art Deco wanted to put an end to the aesthetics of curved lines and organic shapes promoted by Art Nouveau. The lines were to be more geometric, less round and more refined, without abandoning interior decoration using so-called "rich" materials. This period marked the predominance of Art Déco in France, born as a reaction to the aesthetics advocated by Art Nouveau, which was very much in vogue at the end of the 21st century and the beginning of the 20th. The promoters of Art Deco wanted to put an end to the aesthetics of curved lines and organic shapes promoted by Art Nouveau. The lines were intended to be more geometric, less round and more refined, without abandoning interior decoration using so-called "rich" materials. /wp:paragraph wp:image {"align": "center", "id":11137, "sizeSlug": "large"} /wp:image wp:paragraph Art Deco was gradually overtaken by its avant-garde, with designers less concerned with the decorative value of the object and more with its function, and wishing to democratise furniture reserved for the wealthy elite. Art Deco was gradually overtaken by its avant-garde, with designers less concerned with the decorative value of the object but more with its function, and wishing to democratise furniture reserved for the wealthy elite. /wp:paragraph wp:paragraph The central figure of Art Deco was the decorator (also known as the interior architect), a status he shared with the architect (tout court). The latter designed the buildings but entrusted the decorator with the task of creating the interior furniture, of course, but also with the detailed design of each room to create a particular atmosphere. It is no coincidence that interior designer Pierre Chareau (1883-1950) was spotted by architect Robert Mallet-Stevens (1886-1945) to design furniture for the famous Villa de Noailles (1923-1925). /wp:paragraph wp:image {"align": "center", "id":11139, "sizeSlug": "large"} Villa Cavrois, Parents' bedroom, period photo. Villa Cavrois, Parents' bedroom, period photo. Villa Cavrois, parents' bedroom, period photo. /wp:image wp:image {"align": "center", "id":11140, "sizeSlug": "large"} At the Villa Cavrois today, the parents' bedroom has been recreated with period furniture. The room is a good example of Art Deco. Sober lines with the use of precious woods, in this case palm-tree veneered furniture and walls painted beige, in search of a certain elegance... In La Villa Cavrois today, the parents' bedroom has been recreated with period furniture. The room is a good example of Art Deco. Sober lines with the use of precious woods, in this case palm-tree veneered furniture and walls painted beige, in search of a certain elegance... La Villa Cavrois today, the parents' bedroom has been recreated with period furniture. The room is a good example of Art Deco. Sober lines with the use of precious woods, in this case palm veneered furniture and walls painted beige, in search of a certain elegance... /wp:image wp:image {"align": "center", "id":11141, "sizeSlug": "large"} The Fumoir at Villa Cavrois, a room once again very typical of the Art Deco in vogue in the 1920s: the floor, walls and ceiling are thus in waxed natural Cuban mahogany. The restoration work was carried out using mahogany from Honduras. Oval coffee table. The Fumoir at Villa Cavrois, once again very typical of the Art Deco style in vogue in the 1920s: the floor, walls and ceiling are in waxed natural Cuban mahogany. The restoration work was carried out using mahogany from Honduras. Oval coffee table. The Fumoir at Villa Cavrois, once again very typical of the Art Deco style in vogue in the 1920s: the floor, walls and ceiling are in waxed natural Cuban mahogany. The restoration work was carried out using mahogany from Honduras. Oval coffee table /wp:image wp:paragraph Pierre Chareau made an impression in 1925, at the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris, an event that marked the apogee of the Art Deco style, with the very famous Bureau-bibliothèque du Pavillon de l'ambassade française (Library desk in the French Embassy Pavilion), now reconstructed in the Musée des arts décoratifs. What's more, Chareau was an inventive designer who liked to think about the function of furniture, which is why he created a number of wooden pieces with mechanisms and movable elements. /wp:paragraph wp:image {"align": "center", "id":11142, "sizeSlug": "large"} Library desk for the French Embassy, conception and design: Pierre Chareau, 1925. Beech frame, palm wood veneer. Library desk for the French Embassy, conception and design: Pierre Chareau, 1925. Beech frame, palm wood veneer. Library desk for the French Embassy, conception and design: Pierre Chareau, 1925. Beech frame, palm wood veneer. /wp:image wp:image {"align": "center", "id":11143, "sizeSlug": "large"} "Eventail" side table, Model MB106, design by Pierre Chareau, circa 1924. Made of mahogany, it comprises 4 nesting tables with triangular tops that fan out around a common base. Eventail" side table, MB106 model, designed by Pierre Chareau, circa 1924. Made of mahogany, it comprises 4 nesting tables with triangular tops that fan out around a common base. Eventail" side table, MB106 model, designed by Pierre Chareau, circa 1924. Made of mahogany, it comprises 4 nesting tables with triangular tops that fan out around a common base. /wp:image wp:paragraph But the real star of the show was the interior designer Jacques-Emile Ruhlmann (1879-1933), who triumphed with the Pavillon du Collectionneur Pavillon du Collectionneur , a building he commissioned his great architect friend Pierre Patout (1879-1965) to build. Self-taught, Ruhlmann established himself as the master of Art Deco. One of his earliest designs is La Desserte, dite Meuble au char , designed in 1922. /wp:paragraph wp:image {"align": "center", "id":11144, "sizeSlug": "large"} Meuble au char, 1922, designed by Jacques-Emile Ruhlmann. Perhaps the decorator's masterpiece. Made from amaranth wood, Indonesian ebony and ivory marquetry, with spindle-shaped legs, this piece of furniture imposes its extraordinary dimensions: 2.25 m long and 1.09 m high. Meuble au char, 1922, designed by Jacques-Emile Ruhlmann. Perhaps the designer's masterpiece. Made from amaranth wood, Indonesian ebony and ivory marquetry, with spindle-shaped legs, this piece of furniture imposes its extraordinary dimensions: 2.25 m long and 1.09 m high. Meuble au char, 1922, designed by Jacques-Emile Ruhlmann. Perhaps the designer's masterpiece. Made from amaranth wood, Indonesian ebony and ivory marquetry, with spindle-shaped legs, this piece of furniture imposes its extraordinary dimensions: 2.25 m long and 1.09 m high. /wp:image wp:paragraph Why is the "Ruhlmann" style so representative of Art Deco? A love of marquetry and working with precious woods, of course: from rare species such as Indian and Brazilian rosewood, to amaranth from Guyana and mahogany from Cuba, not forgetting ebony from Macassar (Indonesia), Ruhlmann loved working with exotic woods with a very strong "personality". He was an aesthete who was particularly fond of clean, elegant lines that contrasted with the Art Nouveau style: it was he who brought the spindle leg into fashion. Why is the Ruhlmann style so representative of Art Deco? A love of marquetry and working with precious woods, of course: from rare species such as Indian and Brazilian rosewood to Guiana amaranth, Cuban mahogany and Macassar ebony (Indonesia), Ruhlmann loved working with exotic woods with a very strong "personality". He was an aesthete who particularly liked clean, elegant lines that contrasted with the Art Nouveau style: it was he who made the spindle leg fashionable. /wp:paragraph wp:image {"align": "center", "id":11145, "sizeSlug": "large"} The Cabanel Chiffonnier, furniture designed by Jacques-Emile Ruhlmann (1922-1923). The Ruhlmann style: a blend of woods (oak, ebony and ivory tips) for a piece with a refined allure. The Chiffonnier Cabanel, furniture designed by Jacques-Emile Ruhlmann (1922-1923). The Ruhlmann style: a blend of woods (oak, ebony and ivory tips) for a piece with a refined look. The Chiffonnier Cabanel, furniture designed by Jacques-Emile Ruhlmann (1922-1923). The Ruhlmann style: a blend of woods (oak, ebony and ivory tips) for a piece with a refined allure. /wp:image wp:image {"align": "center", "id":11146, "sizeSlug": "large"} Spindle-shaped writing case, Macassar ebony and ivory marquetry (1921-1922). Designed by Jacques-Emile Ruhlmann. Macassar ebony and ivory marquetry (1921-1922). Design: Jacques-Emile Ruhlmann. Macassar ebony and ivory marquetry (1921-1922). Design: Jacques-Emile Ruhlmann /wp:image wp:paragraph Jacques-Emile Ruhlmann's career was not limited to designing furniture. Between 1925 and 1930, he designed a series of vases for the Manufacture de Sèvres with very pure forms, as well as a cup and saucer. The collaboration between the exceptional Manufacture and the champion of Art Deco elegance resulted in refined, timeless pieces. A sought-after decorator, he was called upon to decorate the Elysée Palace, the Presidency of the National Assembly and various ministries. Jacques-Emile Ruhlmann's career was not limited to designing furniture. Between 1925 and 1930, he designed a series of vases for the Manufacture de Sèvres, with very pure forms, as well as a cup and saucer. The collaboration between the exceptional Manufacture and the champion of Art Deco elegance resulted in refined, timeless pieces. A sought-after decorator, he was called upon to decorate the Elysée Palace, the Presidency of the National Assembly and various ministries. /wp:paragraph wp:image {"align": "center", "id":11147, "sizeSlug": "large"} Ruhlmann vase n°3, 1926. Harmony of porcelain and gilded bronze, purity of lines. Sèvres - Cité de la Céramique Ruhlmann vase n°3, 1926. Combination of porcelain and gilded bronze, purity of lines. Sèvres - Cité de la Céramique Ruhlmann vase n°3, 1926. Combination of porcelain and gilded bronze, purity of lines. © Sèvres - Cité de la Céramique /wp:image wp:image {"align": "center", "id":11148, "sizeSlug": "large"} Ruhlmann cup and saucer, circa 1930. White and gold decoration, circa 2000, Cité de la céramique, Sèvres. Ruhlmann cup and saucer, circa 1930. White and gold decoration, circa 2000, Cité de la céramique, Sèvres. Ruhlmann cup and saucer, circa 1930. White and gold decor, circa 2000, Cité de la céramique, Sèvres. /wp:image wp:paragraph Apart from Ruhlmann, other designers were to give French Art Deco furniture its letters of nobility. These included Eileen Gray (1878-1976), to whom the Centre Pompidou devoted a major retrospective in 2013, André Mare (1885-1932), Jules Leleu (1883-1961), Eugène Printz (1889-1948), Paul Follot (1877-1941) and Pierre Legrain (1889-1929). Many of Jacques-Emile Ruhlmann's collaborators were also recruited from the Ecole Boulle. Apart from Ruhlmann, other designers were to give French Art Deco furniture its letters of nobility. These included Eileen Gray (1878-1976), to whom the Centre Pompidou devoted a magnificent retrospective in 2013, André Mare (1885-1932), Jules Leleu (1883-1961), Eugène Printz (1889-1948), Paul Follot (1877-1941) and Pierre Legrain (1889-1929). Many of Jacques-Emile Ruhlmann's collaborators were also recruited from the Ecole Boulle. /wp:paragraph wp:image {"align": "center", "id":11149, "sizeSlug": "large"} Jules Leleu, inlaid sideboard, 1930. Jules Leleu, inlaid sideboard, 1930. Jules Leleu, inlaid sideboard, 1930. /wp:image wp:image {"align": "center", "id":11150, "sizeSlug": "large"} Armoire by Jules Leleu, 1937, in macassar ebony, eglomised glass, chromed metal base by the ironmonger Raymond Subes. Wardrobe by Jules Leleu, 1937, in macassar ebony, eglomised glass, chromed metal base made by the ironmonger Raymond Subes. Wardrobe by Jules Leleu, 1937, in macassar ebony, eglomised glass and chromed metal base by the ironmonger Raymond Subes. /wp:image wp:image {"align": "center", "id":11152, "sizeSlug": "large"} Rectangular chest of drawers in veined marble by Paul Follot, circa 1925. The chest of drawers rests on a burl veneered oak pedestal opening on the front with 3 drawers and 2 doors. Rectangular chest of drawers in veined marble, Paul Follot, circa 1925. The chest of drawers rests on a burl veneered oak pedestal opening to the front with 3 drawers and 2 doors. Rectangular chest of drawers in veined marble, Paul Follot, circa 1925. The chest of drawers rests on a burl veneered oak pedestal opening to the front with 3 drawers and 2 doors. /wp:image wp:paragraph Art Deco decorators often called on craftsmen to work on their projects. Among the best-known craftsmen of the period were cabinet-makers Adolphe Chanaux (-1965) and Jules Deroubaix(1904-1979), ironmonger Raymond Subes (1891-1970), glassmakers René Lalique (1860-1945), who founded the famous house of the same name, Maurice Marinot (1882-1960), Louis Barillet (1880-1948), François Décorchemont (1880-1971) and lacquer specialists Jean Dunand (1877-1942) and Gaston Suisse (1896-1988). Art Deco decorators also often called on craftsmen to work on their projects. Among the best-known craftsmen of the period were cabinet-makers Adolphe Chanaux (-1965) and Jules Deroubaix(1904-1979), ironmonger Raymond Subes (1891-1970), glassmakers René Lalique (1860-1945), who founded the famous house of the same name, Maurice Marinot (1882-1960), Louis Barillet (1880-1948), François Décorchemont (1880-1971) and lacquer specialists Jean Dunand (1877-1942) and Gaston Suisse (1896-1988). /wp:paragraph wp:image {"align": "center", "id":11153, "sizeSlug": "large"} Gaston Suisse, Paravent " New York ", 1925, en laque de chine noire, enrichie de graphite et feuille d'argent Gaston Suisse, Paravent " New York ", 1925, en laque de chine noire, enrichie de graphite et feuille d'argent . /wp:image wp:paragraph In the 1920s and 1930s, Art Deco decorators and craftsmen were able to showcase their skills in the interior design and decoration of ships, particularly transatlantic liners. Carrying a fairly wealthy clientele, the Compagnie Générale Transatlantique (known as "Transat") did not hesitate to hire the best craftsmen of the genre to modernise the interiors of its liners. In 1935, the Normandie Normandie was launched, described by some as "a veritable Art Deco cathedral on the sea"! /wp:paragraph wp:image {"align": "center", "id":11154, "sizeSlug": "large"} Interior of the liner Normandie, Grand Salon, photo: Hamon. Interior of the liner Normandie, Grand Salon, photo: Hamon. Interior of the liner Normandie, Grand Salon, photo : Hamon. /wp:image wp:image {"align": "center", "id":11155, "sizeSlug": "large"} Interior of the liner Normandie, 1st class smoking room, photo Hamon. Interior of the liner Normandie, 1st class smoking room, photo Hamon. Interior of the liner Normandie, 1st class smoking room, photo Hamon. /wp:image wp:image {"align": "center", "id":11156, "sizeSlug": "large"} One of the motifs on the door of the smoking room. Photo Hamon. One of the motifs on the door of the smoking room. Photo Hamon. One of the motifs on the door to the smoking room. Photo Hamon. /wp:image wp:paragraph Although the most famous representatives of Art Deco made a good living, it has to be said that they catered for a very wealthy clientele (the choice of luxurious materials was expensive) with fairly conformist tastes. This is why Art Deco gradually disappeared in favour of designers who wanted to democratise furniture and make it accessible to as many people as possible. Although the most famous representatives of Art Deco made a good living, it has to be said that they catered for a very wealthy clientele (the choice of luxurious materials was expensive) with fairly conformist tastes. As a result, Art Deco gradually disappeared in favour of designers who wanted to democratise furniture and make it accessible to as many people as possible. /wp:paragraph wp:paragraph These designers also rejected the "ostentatious" side of Art Deco, and from the end of the 1920s, a new generation of decorators, architects and designers began to challenge the influence of the great decorators of the time. Many of them founded the Union des Artistes Modernes (UAM) in 1929; their names included Robert Mallet-Stevens (already well established in the profession), Charlotte Perriand Charlotte Perriand , René Herbst, Jean Prouvé, Georges Bourgeois known as Djo-Bourgeois, and Hélène Henry... A new history began... /wp:paragraph wp:heading {"textAlign": "right", "level":4} François Boutard François Boutard François Boutard /wp:heading

Art Deco furniture in France, 1910-1940

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